When Indian classical
dance is recognized as the most ancient dance style, when Bharatanatyam
is gaining a global platform with more than 250 dance institutions in USA
alone, when dance exponents are concentrating in displaying their own productions,
when dance gurus are rampaging over differences in Bharatanatyam styles,
Maryland was privileged to have its first Dance Conference organized by
Shobha Subramaniam and the elite Jayamangala, a non-profit organization
dedicated to promoting, propagating and preserving traditional Indian arts. No visa hassle,
no travel agent, no missing suitcases, no accommodation hassles, no heat
waves, and above all absolutely free. It was offered on a golden
plate true to the saying 'if Mohamed cannot come to the mountains, the
mountains will go to Mohamed.' With six of my best students, I just
returned from a very successful trip to South India, giving performances,
taking lessons, and more importantly attending the first dance festival
organized by Music Academy. Even though the enormous amount spent
on the India trip is justifiable, it was an unbelievable enchanting feast
to have a dance conference in USA utilizing the best of the local talents,
the content and knowledge enormity far surpassing even the Chennai festival.

In the vividly
colored brochure, Shobha's opening line stated that this conference was
organized as a 'humble' attempt to bring together experts in the field
of Indian classical dance from across the DC metropolitan area. It
was indeed an amazing participation of well-chosen topics and respective
gurus. In sync with the humility of rendition, one could feel the vibration
of hard work that each and everyone one in the Jayamangala family had put
together. While Shobha and her son Ashwin, niece Divya, and sister-in-law
Sandhya shared the stage with others, other family members were on their
toes attending to every little detail, even providing free lunch at this
day-long conference.

Being
an avid reader and observer in the dance media both in India and USA, most
often lecture-demos are only a dignified coffee break, like the songs and
fights of the silver screen. But this dance conference was different.
It focused not only on unusual topics in Bharatanatyam but also included
aspects of Manipuri, Odissi, and Kathak. Importance was not given
to the presenter's credentials, but to the presentation itself.

The very first
item 'Natya Parampara' was a bold attempt to show the differences in six
different styles of Bharatanatyam, that I have to now go and change my
theory of four styles (Thanjavur, Kalakshetra, Vazhuvoor, and Pandanalur)
to six, adding Mysore and Kanchipuram as well. For gurus like me
who have been exposed to more than two styles, this was more than an eye-opener
and a delight to watch the differences in adavus and even the boomi-namaskarams.
Dance gurus Lakshmi Swaminathan, Radha Ganeshan, Daya Ravi, Deepti Mukund,
I was told, had more fun choreographing this piece during their practice
sessions.

Karanas
and Gharana, Christian and Gender, fusion and teaching, ancestor and healing
– where can you see all of this on one stage. Janaki Rangarajan gave
life to the findings of her guru Dr. Padma Subrahmanyam. In the Kathak
style, Purvi Bhatt and group showed Gharanas and Asha Vattikutti explained
the Mughal influence in Kathak showing a variety of Kathak styles that
is mostly mistaken as exclusive to Bollywood. Rani David laid down
facts and demonstrated that Christianity existed along with Bharatanatyam
and Sanga Thamizh, but history lost in time has given Christianity a western
outlook. Proving the origination of this dance form, Daniel Singh,
Puneet Panda, Ashwin Subramaniam, Jon Whittle presented admirable dance
items, and in between read humorous anecdotes, and answered questions pertaining
to male dancers. Just this segment alone could have easily attracted
many boys to join Indian dance if only they were present.

Shruthi Mukund
displayed the merge of classical into fusion; Jayantee Paine-Ganguly brought
an Odissi class environment, while Christel Stevens and group showed the
ancestor spirits in Manipuri, and Dr. Anandi Ramachandran illustrated acupressure
and the medical healing science in dance.

While
all of the above was more than like reading a voluminous book in one shot,
then came the remarkable highlight of the day –compositions on Krishna
performed in Kuchipudi style by Lakshmi Babu and Anuradha Nehru, and in
Bharatanatyam by Meena Telikicherla and Shoba Subramaniam. Little
did we know we were in for a double dosage; while we sat spellbound at
this conference concept by Shobha Subramaniam, her rendition of Oothakadu
Venkata Kavi's composition in a garland of bits effortlessly sung one after
another in different ragams by Divya merited a standing ovation.

Amidst politics
and power, Bollywood and fusion, hats off to a unique educational conference,
and may many more follow, and by reading this if you reside in Maryland
and attended the show, raise your collar. If you hadn't, make sure you
don't miss the next one; and for conference organizers and participants
and rasikas in general, thanks for your contribution to this great field;
every boomi namaskaram includes you for keeping the art alive.